Relevant bibliographies by topics / New York Society of the friends of music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'New York Society of the friends of music'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "New York Society of the friends of music"

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Horowitz, Joseph. "Music and the Gilded Age: Social Control and Sacralization Revisited." Journal of the Gilded Age and Progressive Era 3, no. 3 (2004): 227–45. http://dx.doi.org/10.1017/s1537781400003418.

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Edith Wharton's The Age of Innocence, set in Manhattan in the “early 1870s,” begins with Christine Nilsson singing at the Academy of Music. The opera is Gounod's Faust. The “world of fashion” has assembled in the boxes. In their own eyes the embodiment of “New York,” the fashionables are prisoners of convention: Newland Archer arrives late because “it was ‘not the thing’ to arrive early at the opera; and what was or was not ‘the thing’ played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.” Newland takes his place among “all the carefully-brushed, white-waist coated, buttonhole-flowered gentlemen who succeeded each other in the club box, exchanged friendly greetings with him, and turned their opera glasses critically on the circle of ladies who were the product of the system.” That “the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences” seems “as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-baked brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.” The box opposite belongs to “old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera.” It contains a surprise: the Countess Olenska. This finding is assessed by Laurence Lefferts; the “foremost authority of ‘form’ in New York,” he has devoted long hours to such questions as when to wear a black tie with evening clothes and the matter of pumps versus Oxfords for the feet. The countess is next appraised by Sillerton Jackson, as great an expert on “family” as Leffert is on form.
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Chase, Stephen, and Clemens Gresser. "ORDINARY MATTERS: CHRISTIAN WOLFF ON HIS RECENT MUSIC." Tempo 58, no. 229 (2004): 19–27. http://dx.doi.org/10.1017/s0040298204000208.

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Christian Wolff, who turned 70 in March this year, is the last remaining member of the so-called New York School of Composers. Very briefly he studied with John Cage, and was exchanging thoughts with Earle Brown, Morton Feldman and David Tudor from the age of 16 in 1950. Along with friends and colleagues Cornelius Cardew and Frederic Rzewski, he began in the 1970s to draw upon musical ideas that reflected his social and political concerns in a more direct manner. The following is an extract of a much longer interview which took place during the Huddersfield Contemporary Music Festival in November 2002 where Christian Wolff was a featured composer. Wolff discusses his recent compositions, his attitude to writing for voice, and his approach to performance and to begin with, recording.
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Graydon, Philip. "‘Between Moscow and New York’: Richard Strauss's Die ägyptische Helena in Cultural-Historical Context." Journal of the Royal Musical Association 135, no. 2 (2010): 357–404. http://dx.doi.org/10.1080/02690403.2010.506273.

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This article offers a contextual reading of Hugo von Hofmannsthal's and Richard Strauss's 1927 opera Die ägyptische Helena. For Hofmannsthal and Strauss, the marital rift between Menelas and Helena caused by her infidelity operated as the symbolic manifestation of a similar schism in pan-Germanic politics, society and the arts – thus highlighting the concomitant necessity for unity through recognition and celebration of a common culture. By recasting the story of Menelas's and Helena's homeward journey from Troy in order to create an aesthetic answer to the problems of the present, Hofmannsthal and Strauss pointed to the distinct similarities between the Trojan War and the recent conflict that had completely changed the political, geographical and social landscape in Europe. As this article demonstrates, Die ägyptische Helena stands as an artwork both expressly aware and uniquely representative of its historical moment through a multi-faceted literary and musical referentiality inherently characteristic of its creators.
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DELDONNA, ANTHONY R. "FOURTH BIENNIAL CONFERENCE OF THE SOCIETY FOR EIGHTEENTH-CENTURY MUSIC ST FRANCIS COLLEGE, BROOKLYN, NEW YORK, 8–11 APRIL 2010." Eighteenth Century Music 8, no. 01 (2011): 160–62. http://dx.doi.org/10.1017/s1478570610000679.

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Miller, Ivor L. "Bongó Itá: leopard society music and language in West Africa, Western Cuba, and New York City." African and Black Diaspora: An International Journal 5, no. 1 (2012): 85–103. http://dx.doi.org/10.1080/17528631.2012.629437.

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Rink, John. "Conference Report: Joint Meetings of the American Musicological Society, Center for Black Music Research and Society for Music Theory (Grand Hyatt Hotel, New York, 1-5 November 1995)." Music Analysis 15, no. 1 (1996): 128. http://dx.doi.org/10.2307/854174.

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Peppercorn, Lisa M. "Villa-Lobos ‘ben trovato’." Tempo, no. 177 (June 1991): 32–39. http://dx.doi.org/10.1017/s0040298200013541.

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Heitor Villa-Lobos's musical output is very comprehensive. Nevertheless, he thought it useful or necessary, at some later stage, to incorporate certain pieces – in their original form or in transcription – into other compositions, apparently for lack of time to write a completely new work, or sheer laziness. Or, he found delight in teasing his listeners, friends and admirers, unless they discovered his hoax. The Brazilian composer-conductor Walter Burle-Marx (b. 1902), in a letter to me of 31 May 1981 from Caracas, Venezuela (and reproduced here by his kind permission), commented on this characteristic of Villa-LobosA typical example of Villa-Lobos's temperament and way of thinking concerns the Bachianas Brasileiras # 5.1 did the U.S premiere in New York at the World's Fair on May 4th, 1939 with the New York Philharmonic and Bidú Sayão, using the manuscript of Villa-Lobos. Later on, when I saw the manuscript again, there was a repeat sign on the first introductory measure in 5/4. I asked him why he did that and he replied that he felt that the introduction was too short. I asked why he didn't compose two different measures – he who had so much imagination – and he smiled and said: ‘To tell the truth, I felt lazy’. This was one of his faults; once a work was finished, he very rarely went back to polish it much less to change it.
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Ring, Francis. "The Bath Philosophical Society and its influence on William Herschel’s Career." Culture and Cosmos 16, no. 1 and 2 (2012): 45–52. http://dx.doi.org/10.46472/cc.01216.0211.

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At a time when eighteenth-century Bath was rapidly expanding, new buildings and an influx of people made it one of the most popular places outside London. The city became a centre for fashion, music, learning, and architecture on a new scale. It became a centre also for discussion on current affairs, since newspapers were not freely available. Some were fascinated by science though few had a chance to study the new interests of the time. There were travelling teachers who made money by going around the country to give illustrated talks on scientific subjects. It is said that the private hiring of such people was an influential and entertaining way of reaching your friends and contacts. One such was Dr Desagulier, who ran a course on Experimental Philosophy in Bath. His course included optics and he used a Planetarium to demonstrate the motions of the heavenly bodies
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Achtenberg, Emily Paradise. "Friends and Neighbors: Remembering Pete Seeger and Camp Woodland." Monthly Review 66, no. 8 (2015): 15. http://dx.doi.org/10.14452/mr-066-08-2015-01_4.

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I attended Camp Woodland, a progressive summer camp in upstate New York, for four summers starting in 1955 when I was ten years old. When Pete died last year, it was my fellow Camp Woodlanders that I most wanted to connect with.&hellip; Fortunately, a camp reunion in 2012 had revived many old friendships. &ldquo;Pete&rsquo;s music was the soundtrack to our lives,&rdquo; one former camper reminisced on the camp listserv. &ldquo;Pete modeled our values and transformed how we lived in the world, just like at camp,&rdquo; another wrote.<p class="mrlink">This article can also be found at the <a href="http://monthlyreview.org/index/volume-66-number-7" title="Vol. 66, No. 7: January 2015" target="_blank"><em>Monthly Review</em> website</a>, where most recent articles are published in full.</p><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-66-number-7" title="Vol. 66, No. 7: January 2015" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>
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HARA, KUNIO. "“Per noi emigrati”: Nostalgia in the Reception of Puccini's La fanciulla del West in New York City's Italian-Language Newspapers." Journal of the Society for American Music 13, no. 2 (2019): 177–94. http://dx.doi.org/10.1017/s1752196319000063.

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AbstractThe premiere of Puccini's La fanciulla del West at the Metropolitan Opera in 1910 inspired enthusiastic reactions from the New York audience. However, as demonstrated by Annie J. Randall and Rosalind Gray Davis's 2005 study, Puccini and the Girl: History and Reception of “The Girl of the Golden West,” the critical reception of the work highlighted the Italian composer's inability to measure up to the critics’ preconceived notions about the American West. Among the many perceived oddities of the opera was the character of Jake Wallace, a “wandering camp minstrel,” who appeared in an unconventional form of blackface and sang an aria based on a transcription of a Native American song. This essay reexamines the early American reception of La fanciulla by analyzing the coverage of the opera in Italian-language newspapers published in New York. Articles in these periodicals suggest that Jake's nostalgic song (canto nostalgico) and the sentiment of homesickness that it projected played a central role in the positive reception of the work among their readers. Acknowledging such a reaction to the opera reminds us of the difficulty of ascribing a uniformly “American” reception to any work. It also uncovers an unexpected way in which Puccini and his collaborators promoted the opera to a particular segment of the American society.
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Dissertations / Theses on the topic "New York Society of the friends of music"

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Horel, Kira Lynn. "The overture to George Frederick Bristow's Rip Van Winkle: a critical edition." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2895.

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This dissertation centers on creating a new critical edition of the Rip Van Winkle overture. One of America's earliest opera composers, George Frederick Bristow (1825-1898), completed the opera Rip Van Winkle in 1855. When he revised it twenty-five years later in 1880, the composer omitted the original overture which was then thought to be lost. A concert version of this overture exists today only in manuscript form, located at the New York Public Library. Rip Van Winkle is significant to the history of American Music because it is one of the earliest operas composed by an American, and the first to be written on American subject matter (in this case, Washington Irving's story of the same name). Adding to the work's considerable historical significance is that the overture was one of the first American pieces performed by the New York Philharmonic Society, in which Bristow was a violinist. There is currently no scholarly edition of the overture, and thus this edition will fill a significant gap in the understanding of nineteenth-century American music. This critical edition of the overture to George Frederick Bristow's Rip Van Winkle was created in order to be published and available for performance and study, shedding light on the often under-represented American opera in the United States.
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White, Duncan. "History, Repeating." Thesis, 2013. http://hdl.handle.net/1911/71481.

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This project is a study in doing the same thing again and again and again. It experiments with a purposefully reductive design strategy limited to the repetition of a single idea. Taking cues from other disciplines, it uses this incessant repetition to introduce a new affect to architecture based upon the experience of self-similar spaces in an uninterrupted and seemingly endless sequence. Finally, it reimagines the typology of the large history museum, proposing an open-ended series of moments of historical totality as an alternative to the cumulative or narrative unfolding of content. This thesis project is at once a primitive formal game and a spatially complex reinvention of a venerable American institution. It is an architectural contraption that reorders a universe of artifacts.
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Books on the topic "New York Society of the friends of music"

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Bokelund, Henning. High society: My friends, the New Orleans clarinettists. Golden Triads, 2002.

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Gibbs, Nancy Reid. Children of light: Friends Seminary, 1786-1986. Friends Seminary, 1986.

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Frank, Carrel. Our French Canadian friends: Address delivered before the Canadian Society of New York February 1920. s.n.], 1995.

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Faith and practice: The book of discipline of the New York Yearly Meeting of the Religious Society of Friends, approved the 31st July 1998. New York Yearly Meeting, religious Society of Friends, 1998.

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Janet, Hathaway, ed. Pliegos de villancicos en la Hispanic Society of America y la New York Public Library. Edition Reichenberger, 2007.

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Fay, Loren V. Sempronius Meeting of Friends: An historical sketch of the first religious society in the town of Moravia, Cayuga County, New York, 1804-1838. 2nd ed. L.V. Fay, 1986.

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Levy, Barry. Quakers and the American family: British settlement in the Delaware Valley. Oxford University Press, 1991.

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Quakers and the American family: British settlement in the Delaware Valley. Oxford University Press, 1988.

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Edward, McCue, and Talaske Richard H, eds. Acoustical design of music education facilities: Essays concerning the acoustical design of music education facilities and reproductions of posters describing fifty recent projects presented at special poster and lecutre sessions entitled "Music Education Facilities since 1975" during the 117th Meeting of the Acoustical Society of America in Syracuse, New York, 25 May 1989. Published by the Acoustical Society of America through the American Institute of Physics, 1990.

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Zheng, Su. Claiming diaspora: Music, transnationalism, and cultural politics in Chinese America. Oxford University Press, 2003.

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Book chapters on the topic "New York Society of the friends of music"

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Treacy, Danielle Shannon, Sapna Thapa, and Suyash Kumar Neupane. "“Where the Social Stigma Has Been Overcome”: The Politics of Professional Legitimation in Nepali Music Education." In The Politics of Diversity in Music Education. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_9.

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AbstractThis chapter explores the actions musician-teachers in the extremely diverse and complex context of the Kathmandu Valley imagine that might hold potential for contesting and altering processes of marginalisation and stigmatisation in Nepali society. The empirical material was generated in 16 workshops involving 53 musician-teachers and guided by the Appreciative Inquiry 4D model (e.g. Cooperrider et al. Appreciative inquiry handbook: for leaders of change. Crown Custom, Brunswick, 2005). Drawing upon the work of Arjun Appadurai, we analysed the ways in which engaging the collective imagination (1996) and fostering the capacity to aspire (2004) can support musician-teachers in finding resources for changing their terms of recognition. We identified five actions that musicians and musician-teachers take to legitimise their position in Nepali society: (1) challenging stigmatised identities, (2) engaging foreignness, (3) advocating academisation, (4) countering groupism, and (5) promoting professionalisation. We argue that these actions suggest the need for music teachers to be able to ethically and agentively navigate both the dynamic nature of culture and questions of legitimate knowledge, which may be fostered through an emphasis on professional responsibility (Solbrekke and Sugrue. Professional responsibility: new horizons of praxis. Routledge, New York, 2011) in music teacher education.
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"Bongó Itá: leopard society music and language in West Africa, Western Cuba, and New York City." In Rewriting the African Diaspora in Latin America and the Caribbean. Routledge, 2014. http://dx.doi.org/10.4324/9781315829630-11.

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Rice, Albert R. "Baroque Clarinet in Society." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0006.

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The evidence for the acceptance and use of the Baroque clarinet in 18th-century society is discussed: in iconographical representations (engravings, paintings, etchings, mezzotints, stucco); by traveling musicians (August Freudenfeld, Francis Rosenberg, Mr. Charles); in court and aristocratic music (Stuttgart, Rastaat, Koblenz, Merseburg, Berleburg, Gotha, Karlsruhe, Mainz, Rudolstadt, Cologne, Paris, Olmütz, Darmstadt, Würzburg, Zweibrücken); in church and civic music (Nuremberg, Venice, Antwerp, Kremsmünster, Greiz, Kempten, London, Frankfurt, Salzburg, Schlosshof, Marienberg); and military music (Rastatt, London, New York, Paris, Stockholm, Salzburg). Newspaper advertisements include clarinet concerts; archival documents indicate the dates of clarinetists in court and monastery orchestras, and clarinets purchased by aristocrats and courts.
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Hewitt, Nancy A. "Family and Faith, 1790–1828." In Radical Friend. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640327.003.0002.

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Amy Kirby Post’s life as a social activist was rooted in the Quaker farm community in which she was raised. Born in 1802 in Jericho, New York, Amy Kirby was surrounded by grandparents, aunts, uncles, and cousins, all of them birthright members of the Society of Friends. Friends embraced a diverse range of views, but the local Jericho and Westbury Friends Meetings were noted for their peace and antislavery testimonies. Elias Hicks led antislavery efforts in the area and insisted that individuals act according to their “inner light” rather than the Quaker Discipline or even the Bible. Friends’ separate women’s meetings and acknowledgement of women ministers provided Amy with a strong sense of female independence. Yet she also learned about the fragility of family ties and of life itself. Her closest sister Hannah married Isaac Post and moved to central New York in 1823; Amy’s fiancé died in 1825; and two years later Hannah died far from home. Hannah’s death occurred just as the Society of Friends split into Hicksite and Orthodox branches. While twenty-five-year-old Amy was certain about her spiritual commitment to the Hicksites, in most other ways, her future felt deeply unsettled.
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Musolf, Gil Richard. "The Dialectic of Domination and Democracy in Aeschylus’s Oresteia: A Radical Interactionist Reading ☆ A shorter version of this chapter was presented in the session on Radical Interactionism at the Society for the Study of Symbolic Interaction, August 10, 2013, in New York City." In Revisiting Symbolic Interaction in Music Studies and New Interpretive Works. Emerald Group Publishing Limited, 2014. http://dx.doi.org/10.1108/s0163-239620140000042005.

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Miller, Julie. "A Great Heart." In Cry of Murder on Broadway. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501751486.003.0006.

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This chapter discusses how Amelia Norman attracted new and influential friends during her time in the Tombs, which became more important to her than any of her fellow inmates proved to be. It recounts how Amelia's new friends read moral and political meanings into her ordeal that went well beyond the sensational interests of the press and even the boundaries of her own experience. It also refers to popular author and reformer Lydia Maria Child, who became Amelia's chief protector throughout her trial and afterward. The chapter describes Lydia as a committed reformer who by the early 1830s was deeply embroiled in abolition. It talks about how Lydia came to New York in May 1841 to edit the National Anti-Slavery Standard, a weekly newspaper published by William Lloyd Garrison's American Anti-Slavery Society.
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Lamas, Carmen E. "Introduction." In The Latino Continuum and the Nineteenth-Century Americas. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198871484.003.0001.

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In May of 1892, the Cuban exile Nestor Ponce de León (1837–99) delivered a lecture titled “Los primeros poetas de Cuba” (1892, 385) (The First Cuban Poets) at a meeting of the Sociedad de Literatura Hispano-Americana in New York City. Despite the name of the society and the ostensible focus of Ponce de León’s talk, this meeting was not simply a gathering of friends and visiting authors from Latin America who found themselves in the vicinity of New York and who happened to love Cuban literature and the wider culture of belle lettres in the Americas. Ponce de León was surrounded by fellow exiles planning revolution. In the audience sat one of the founders and a former president of the Sociedad, José Martí (1853–95), who had stepped down from leading the New York literary society in order to organize the Partido Revolucionario Cubano. As was so often the case among nineteenth-century Latina/o intellectuals (and their Latin American counterparts), literary and political practices were mutually informing and hard to separate into neat categories of their own....
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Robinson, Harlow. "“Nobody Asked You to Go to America”." In Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.003.0002.

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This chapter focuses on Milestone’s early life: his childhood and family life in Moldova, his identity as a Jew and early experience of anti-Semitism, his love for the theater, his decision to immigrate to America and his difficult voyage to New York. It continues with his early work as a society photographer in New York, and his enlistment in the Photographic Division of the U.S. Army Signal Corps, where he edited documentary film footage sent from the front. Known as a practical joker with a fine sense of humor, Milestone made friends and useful connections easily. When the War ended, he took the advice of some Hollywood veterans and moved to Los Angeles in 1919 to break into the film industry.
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Baecker, Ronald M. "Afterword: Developments in autumn 2018." In Computers and Society. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827085.003.0021.

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I sent this manuscript to Oxford University Press on 29 August 2018. The book emerged in April 2019. Much happened in the interim. I submitted this update on 4 January 2019, summarizing matters of consequence in autumn 2018, as well as important things I learned in that period. A recent Microsoft blog suggests that I was too positive in my portrayal of a shrinking digital divide. In the USA, 35 per cent of the population report they do not use broadband communications at home. Wikipedia continued to grow, fuelled in part by its foundation’s effort to engage underrepresented ‘emerging communities’. Battles in the USA over net neutrality intensified after the federal decision to abandon the policy. The state of California passed a tough net neutrality; the New York state attorney initiated an enquiry asking whether the federal decision had been swayed by millions of fraudulent comments. There were more innovations in sensory substitution to enable digital inclusion. At Caltech, researchers developed a system that allows blind people to receive an audio description of what is in their gaze: the objects appear to describe themselves in words. Women continued their struggle for equality and against gender discrimination in high-tech firms. Despite the importance of digital technologies for seniors to help combat loneliness, and to access banking and other online services, many are still digitally disengaged. Research shows that seniors perceive risk in being online, are reluctant to invest the time needed to gain and maintain digital proficiency, and are sometimes concerned that internet use would be inconsistent with their values, for example, the desire to support local stores. I was also too positive in my analysis of the impacts of sharing and stealing digital media and the power of digital media firms such as Google, Netflix, Facebook, and Amazon (see also the discussions of corporate concentration in Sections 12.9 and 14.12). Professor Jonathan Taplin has summarized how devastating these impacts have been, not just to digital media companies such as music and newspaper publishers, but to media creators such as composers and reporters. Consumer spending on recorded music dropped from almost US$20 billion in 1999 to US$7.5 billion in 2014.
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Hewitt, Nancy A. "Worldly Associations, 1836–1841." In Radical Friend. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640327.003.0004.

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Rochester’s boomtown atmosphere attracted a diverse population and allowed Isaac Post to open an apothecary shop to support his still growing family. As importantly, the Posts engaged new groups of activists even as they immersed themselves in Hicksite debates over abolition, Indian rights, women’s rights, and the appropriateness of Friends participating in worldly (that is, cross-denominational) social movements. Locally, antislavery efforts were led by local blacks and by white evangelicals. Amy signed her first antislavery petition in 1837; and she and Isaac attended antislavery conventions where national leaders spoke. In 1840, they joined evangelical, Hicksite and Orthodox Friends in founding the Western New York Anti-Slavery Society (WNYASS). The WNYASS, auxiliary to the American Anti-Slavery Society, was interracial and mixed-sex. In January 1842, William Lloyd Garrison spoke at its annual convention and stayed with the Posts. That February, Amy helped organize a worldly antislavery fair. The funds were intended to help fugitives seeking refuge in Canada, suggesting that she and Isaac were also involved in the underground railroad. Clearly Amy Post’s activist worlds were expanding, complicating her relationship to the Hicksite meeting and opening up new possibilities for transforming society.
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